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JohnS

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  1. Danses concertantes / Different Drummer / Requiem open on our Main Stage on 20 March – watch the Insight tonight at 7:30pm: https://www.youtube.com/watch?v=OrcXGuiYYi0
  2. I’d seen the apology @Scheherezade and thought that’s very unfortunate. Mistakes do happen and it’s good when they’re corrected so hopefully no one turned up yesterday. It was the run of ENO clangers that rather worried me and with the awful news on redundancy letters, compounded by being distributed part way through a performance, resignations etc, it’s been a very grim time at ENO.
  3. I’m pretty sure the water in Dutchman is contained on stage - I certainly hope so for the orchestra as well as those nearest the stage. Definitely no audience participation, special glasses, moving chairs so ‘immersive’ may be overstated. But the production is extraordinarily absorbing, ‘immersive’ in a more traditional sense. I find that’s also very much the case with Lucia, Jenufa and the new Rheingold so I’m very much looking forward to further Ring instalments. I wouldn’t be too critical of ROH’s marketing tweets, certainly not compared to ENO where apparently their marketing people have warned Jenufa and Duke Bluebeard’s Castle may be too difficult for new opera goers so suggest Magic Flute and Barber of Seville instead. And I now read ENO have said that Johann Strauss was Richard Strauss’s father and Benjamin Britten composed the music for Zeffirelli’s Romeo and Juliet film. I thought all this must be a spoof and from a quick look I haven’t managed to find references on the ENO’s website/social media but the ENO pages quoted on various social media posts look genuine.
  4. I found Dutchman pretty engaging, for the main characters and the fabulous chorus. I’d have liked to see a performance as well as the General Rehearsal but dates didn’t work so I’ll catch the 2015 performance when it’s on the Stream. I wonder if ‘immersive’ is also a reference to the water at the front of the stage which is used very effectively for a model ship and the sailors’ party?
  5. Apologies - I’m very late to the recent posts. I wonder if some more ambitious productions might be worth considering? I’d been unimpressed with recent Toscas, Bohemes, Turandots etc having been spoiled by so many great performances in the 1970s to 2000s before moving to Cumbria. But my faith in opera was restored when I saw Lucia di Lammermoor and then Jenufa, engaging;/challenging productions and wonderfully sang. Lucia is coming up in April and I’ll be going to the General Rehearsal (a handful of £9 tickets) and a performance (plenty of tickets, all prices). There’s not much Lucia on the Stream but there may be an Insight coming up - on 11 April Katie Mitchell and Oliver Mears are discussing the director’s role in taking a production from the rehearsal room to the stage which may include some discussion of Lucia but I don’t know if it will be relayed/on the Stream. Jenufa is on the Stream - it’s a production I find gripping where I am genuinely concerned as to what happens to all the characters. I enjoyed the recent Flying Dutchman General Rehearsal and a 2015 performance will shortly be on the Stream. There are a couple of performances left this run - 2 hours 30 minutes and no intervals but for me the time simply flew by.
  6. A truly memorable evening on Friday and fabulous to see all the tributes, footage of the curtain calls and speeches, and the stunning performance footage from the wings. Thank you all for the posts here. I do sympathise with the comments about Alex being so underused but I thought his speech an eloquent and incredibly measured response. I’ve also been looking again at his ‘Spotlight on …’ series on the ROH Stream which seems remarkably prescient. It was great to see Alex, Claire, Francesca and others at the Stage Door, with Alex generously finding time to have more than a few words with everyone as he’s always been so willing to do. In writing a note for Alex I realised I’ve now been coming to the ROH for 50 years and Alex and Francesca have certainly provided me with some of the absolute highlights. I’d pick their Giselle (Act 1 of the first performance and Act 2 of their second performance) and last Saturday’s Manon as the ones I’ll most treasure but there are of course so many more which will stay with me. Hugely fitting for Alex and Francesca to be dancing Manon to bring the curtain down on this Royal Ballet chapter of Alex’s career and let’s see if there’ll be another chapter at some point. Meanwhile huge congratulations, many thanks, and all good wishes to Alex as he takes up his RAD role, a great opportunity where I’m sure he’ll excel.
  7. I too booked for the Annual Performance. There wasn’t much choice (other than in the Amphitheatre) and I was pleased to get a restricted Balcony ticket. It’s always good to attend and a great way to bring the curtain down on the season. And hopefully I should manage a day trip as it’s a Saturday.
  8. The problem I have is the many full price tickets which do not have the unobstructed view and where it’s a bit of a lottery as to the height of the person sitting in front.
  9. I’m sorry you missed out @LinMM. All a bit of a rush at 10:00 and very fortunate to have got such a good ticket. Stalls can be a bit hit and miss but the aisle seats (normally 6 and 26/27) are exceptional.
  10. I've returned the ticket to the Box Office. It’s a favourite seat and I find the restriction pretty minimal but I managed to pick up a very good aisle seat in the stalls.
  11. Apologies - I managed to duplicate my post rather than edit it.
  12. Ticket for sale for tonight’s Manon (8 March 2024 7:30pm) Balcony A33 (slightly restricted because if the safety rail to the right) £99. Please pm me and post here. I’ll return it to the Box Office this lunchtime before 1pm.
  13. Another fabulous Wigmore Hall recital this lunchtime (6th March). Alisa Weilerstein cello and Inon Barnatan piano played the fiendishly difficult Britten cello sonata with astonishing ease followed by the Brahms second cello sonata, a favourite. They then played the Andante from the Rachmaninov cello sonata as an encore. A wonderfully matched duo and so good to have the Wigmore Hall hosting their programme, such a welcome haven of civility from the ills around us.
  14. I enjoyed last night and there was much to admire. Melissa Hamilton is a compelling Manon and I agree with the praise for Calvin Richardson’s debut, particular his solo work, acting and stage presence. But there were times when the partnering was insecure and I was pleased Melissa Hamilton is such an experienced Manon and covered so well. Act 3 impressed me most and I’d very much like to see them again: I wish they’d had chance for another performance this run. James Hay is a magnificent Lescaut and I feel very fortunate to have seen his three performances. His cameo old man has also provided great entertainment and hopefully we’ll see him again in that role on Friday.
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